harpentier’s Médée is one of the glories of the Baroque. Medea’s betrayal by Jason, her comprehensive revenge and the plight of those caught up in this epic tragedy prompted Charpentier to compose music of devastating power. Transcending the constraints of the Lullian tragédie lyrique, he produced characterisations of astonishing complexity and invested vast stretches of music with a dramatic pace and a harmonic richness rivalled among contemporaries only by Purcell. The electrifying exchanges of the third act, mingling pathos with extreme violence, alone put Charpentier on the same imaginative level as Rameau and Berlioz. The machinations of the fourth act and the dénouement in the fifth maintain the same captivating impetus.
Written in 1797, Cherubini's faithful version of Euripides' ancient tragedy is one of the most savage and powerful works of the opera repertoire, relating the cruel vengeance of a wounded woman for whom infanticide seems to be the only solution to her humiliation in love. As a continuation of Gluck's music, Cherubini's work is of boundless emotion, at once a refined, terrifying and desperate portent of a tragic outcome.
For twenty years William Christie and Les Arts Florrisants have contributed immeasurably to our understanding of Baroque opera. Unequalled in the French repertoire until Rameau, Médée far surpasses the finest work of his great rival Lully. Returning to this recording, I was struck by the rhythmic infectiousness and élan of concerted scenes, especially the divertissement which concludes act 2… Jan Smaczny
A long-awaited new release of one of the world’s most respected medieval music ensembles, Crawford Young’s Ferrara Ensemble continues its interpretation of late Gothic composers, in the first recording ever of what has been called the Mt. Everest of music notation puzzles - Angelorum psalat of the Codex Chantilly, recently published in a new edition by Crawford Young. A pinnacle of complexity, the Codex Chantilly, c1400, reflects the taste of popes and secular rulers such as Jean, Duc de Berry.
In October 2007, the Centre Musical de Baroque de Versailles celebrated its 20th anniversary, together with the best French musicians around. To complete this anniversary, they now present the release of a 20-CD box with numerous musical highlights, both of the anniversary concerts as well as releases from the previous 20 years. Thanks to this jubilee box, you can now witness this landmark of French Baroque music.
There are quite a few French Baroque ballet and opera samplers on the market, perhaps because theses repertories, with their arcane textual and musical conventions and their unfamiliar genres, are thought to be rather inaccessible for general listeners in complete works or large chunks of them. The reconstructions of William Christie and others, including this disc's conductor, Sigiswald Kuijken, have shown that equal parts of imagination and musicality can go a long way toward making the operas of the French Baroque come alive, and the repertoires of virtuoso singers are beginning to reflect this.
Presented in a stylish 4-CD box set, here is a comprehensive recording of one of the most enigmatic manuscripts in the history of European music, preserved in the museum at the Château de Chantilly, France. ‘Anything that can be sung, can be written in music notation,’ claimed an anonymous treatise on notation in the late fourteenth century. The harmonies thus ‘captured’ on parchment represent an apex in Western music, associated with the wealthiest courts in Christendom, called ‘decadent’ by some.